(1 August 1659 - 15 May 1734) was an Italian painter of the late Baroque school of Venice. About the same age as Piazzetta, and an elder contemporary of Tiepolo, he represents a late version of the vigorous and luminous Cortonesque style of grand manner fresco painting. He was born in Belluno, son of Andreana and Livio Ricci. In 1671, he apprenticed to Federico Cerebri of Venice. Others claim Ricci's first master was Sebastiano Mazzoni. In 1678, a youthful indiscretion led to an unwanted pregnancy, and ultimately to a greater scandal, when Ricci was accused of attempting to poison the young pregnant woman to avoid marriage. Imprisoned, he gained release only after intervention of a nobleman, probably a Pisani family member. He married the pregnant mother in 1691, although this was a stormy union. After his arrest, he moved to Bologna, where he domiciled near the Parish of San Michele del Mercato. His painting style there was apparently influenced by Giovanni Gioseffo dal Sole. On 28 September 1682 he was contracted by the "Fraternity of Saint John of Florence" to paint a Decapitation of John the Baptist for their Oratory. On 9 December 1685, the Count of San Segundo near Parma commissioned from Ricci the decoration of the Oratory of the Madonna of the Seraglio, which he completed in collaboration of Ferdinando Galli-Bibiena by October 1687, receiving a compensation of 4,482 Lira.   Related Paintings of Sebastiano Ricci :. | The Deposition | Esther vor dem persischen Konig Ahasver | Die Bestrafung des Amor | Flucht nach Aypten | Entwurf |
Related Artists:
Jean-Baptiste Van Mour
17th Century Painters of the Bosporus,was a Flemish-French painter, remembered for his detailed portrayal of life in the Ottoman Empire during the Tulip Era and the rule of Sultan Ahmed III. Van Mour was a native of Valenciennes, a Flemish town that at he time of his birth belonged to the Spanish Netherlands, but since 1678 to France. He studied art in the studio of Jacques-Albert Gerin, and his work attracted the attention of an aristocrat and statesman of the time, Marquis Charles de Ferriol. Van Mour was invited to go to Istanbul when De Ferriol was appointed there as the French Ambassador in 1699. De Ferriol commissioned van Mour to do one hundred portraits of the local people. In 1711 De Ferriol returned to France and van Mour worked for a variety of other diplomats. In the meantime De Ferriol published a series of one hundred engravings (after the paintings) in Recueil de cent estampes representant differentes nations du Levant. The book had a great influence in Western Europe and was published in at least five languages. Painting audiences with the Sultan became van Mour's speciality; he only had to change the setting and a few faces. Van Mour worked with assistants to fulfill all his obligations. In 1725 he was granted the extraordinary title of Peintre Ordinaire du Roy en Levant in recognition of both his and the Levant's importance to the French government. In 1727 the Dutch ambassador Cornelis Calkoen asked Van Mour to record his audience with Sultan Ahmed III on canvas. Van Mour was allowed to enter the palace during these ceremonies accompanying the ambassador and his retinue; therefore, he was familiar with the special protocol that prevailed in the Ottoman court for ambassador's receptions. Calkoen took many paintings of Jean-Baptiste van Mour with him, when he was appointed as ambassador in Dresden for the Dutch Republic. In his will of 1762 the bachelor Calkoen forbade his heirs to sell the paintings, which are now part of the Rijksmuseum collection.
CORTE, Gabriel de la.
Spanish painter b. 1648, Madrid, d. 1694, Madrid
Godfried Schalcken
Dutch 1643-1706 Godfried Schalcken was born in 1643 at Dordrecht, and he studied under Samuel van Hoogstraten in Dordrecht before he moved to Leiden, into the studio of Gerard Dou (1613-1675), one of Rembrandt's most famous pupils. His earlier genre pictures very closely resemble Dou's work. He worked in Leiden until c. 1675, then returning to Dordrecht until 1691, after which he settled in The Hague, where he continued to paint until his death, near age 63, in 1706. He also visited England (1692-1697), but his uncouth manners and bad temper alienated him from the society there. In 1703 he was employed by Johann Wilhelm, Elector Palatine in D??sseldorf. Mary Stanhope, Viscountess Fane, detail, 1702.Schalcken painted several portraits, of which the half-length of William III of England, now in the Rijksmuseum, Amsterdam, is a good example. Like Dou, Schalcken specialised in small scenes it by candlelight, a technique that found favour with the fijnschilders. Examples are in Buckingham Palace, the Louvre, Vienna and Dresden. His painting, Lady, Come into the Garden (Buckingham Palace), was singled out by his pupil Arnold Houbraken as representative of his oeuvre. Other good examples are Old Woman Scouring a Pan and Soldier Giving Money to a Woman (London, National Gallery), Ceres Seeking Proserpine and Old Man Writing (Louvre), Girl Blowing Out Taper (Munich), Girl Reading Letter (Dresden Gallery), The Boy Angling (Berlin); and Toilet by Candle (The Hague). The Buckingham Palace collection also possesses an interior by Schalcken. His history paintings are less-well known.